Archive for the ‘tuhog’ Tag

So I’ve started this project way back in the mid-2000s. As one who’s a sucker for awards shows and predicting them (it’s weird I know), I try to pick my own choices in the main categories. Just a few years ago, I decided to do the techs as well. But it’s mostly focused on the four acting categories, directing, screenplay, ensemble, and Best Picture. This has been a work in progress, as I still catch up on some movies years past their actual release (especially the ones in the mid-2000s and early 2010s). Let it be clear as well that I have so many blindspots in terms of movies that I still haven’t seen (in Lav Diaz’ case for instance, I’ve only seen Batang Westside, Norte, and Mula sa Kung Ano ang Noon) missing almost everything in his filmography (my loss, I understand). Also, the reason why I decided to begin with 2000s is probably because that’s the reasonable year when materials are still searchable and probably the year when I began to sleep late catching up awards shows in RPN 9 as I list them in a yellow paper. LOL. Anyway, let’s begin with my Screenplay picks of the last fifteen years:

May used to be the awards season here in the Philippines, but that tradition has been long since gone. But not for me. This is when I reveal my top picks for the best in Philippine cinema. 2013 is a very difficult one, not because there are only few films to choose from, but because of the many selections the year gave us. Granted I still missed some few films here and there, I’ll share to you my picks in 20 different categories (including my three top choices per film component.) And without further ado, here’s my 2013 Tit for Tat Local Film Awards:

Last year, I opened my list by saying that 2012 was an enjoyable year in local cinema. Turns out, I was speaking way too soon because 2013 turned out to be an even better one. To say it is great is probably a hyperbole, but at the same time, I say it with much conviction (and even an understatement). The medium of cinema has never been more exciting and adventurous in the past few years than what the 2013 batch has offered. That goes without saying that it didn’t have its share of misfires and mess, but then again, this year is too strong to focus on that. Three titles you wouldn’t see on the list, however, are Lav Diaz’ Norte, Hangganan ng Kasaysayan, Alvin Yapan’s Mga Anino ng Kahapon, and Sigrid Andrea Bernardo’s Ang Huling Chacha ni Anita, because I was foolish enough to miss them during their run. With that said, here are my 15 picks for the best in 2013 local cinema:

15. TUHOG (Veronica Velasco)

Maindie is one of those terms that sounded so forced you don’t want to hear it ever again, but this Veronica Velasco film of three intertwined stories connected by an unfortunate incident gives it a free pass to be used just this time. Each of the three sub-stories provided interesting characters and back stories that any of them could have been further fleshed out to a whole film. But then again, maybe that’s one of the film’s asset? The movie also boasts of a fitting soundtrack to its story, and the end result is one of 2013’s most fresh mainstream or in this case, maindie, offerings.

14. OTSO (Elwood Perez)

Otso is director Elwood Perez’ first film in ten years, and in this case, it is really worth the wait. I think that doesn’t apply on waiting for Elwood’s comeback only, but for the film as well. Otso started in scenes that were still in multicolor, but it just sets up for an even better film once it turns black and white. I don’t think I’ve necessarily picked up everything that the film wants to show, but it’s part of its appeal. It lures you to its world where the crazy and the wicked happens, and you’re simply hooked.

13. BABAGWA (Jason Paul Laxamana)

One of the two Audience choice winners at last year’s Cinemalaya, it’s easy to see why a lot fell in love with this film. Its humor is one that appeals to everyone. But digging deeper, I think it speaks a lot to the curious and inquisitive nature of ourselves. In here, we see two people fleshing out two different personas of each, and we, as the audience, are the witness to all of it. It’s such an engaging scenario that by the time the slow reveal at the end happens, you probably have an idea of what’s about to happen yet you still want to see it happen. It also boasts of an inspired screenplay and one that speaks of the current times.

12. BOY GOLDEN SHOOT TO KILL: The Arturo Porcuna Story (Chito Rono)

I’ve been quite dismissive of this MMFF entry just because it’s Jorge Estregan with a leading lady almost half his age yet again, but I guess surprises do come when you least expect it. Not only does this film serve as a perfect throwback to the yesteryears of enjoyable action flicks, we’re also served with its topnotch technical achievements. The twists and turns of thew characters here, plus that out of nowhere scenes that provided the camp makes it a good reminder that every now and then, never judge a movie by its horribly made poster.

11. KABISERA (Alfonso Torre III)

Yes I’m not here for that Breaking Bad comparisons simply because they are two different films that happened to have some similarities. it happens, but I don’t see any “copying” between these two. In Borgy Torre’s directorial debut, Kabisera shows us how one family man’s dreams happen and its good and bad repercussions not only to him but to the people around him. Anchored with a commanding performance by Joel Torre (one of his two this year) and a really great supporting ensemble, Kabisera is really thrilling as it can get.

10. QUICK CHANGE (Eduardo Roy Jr.)

Eduardo Roy Jr.’s follow up has a dark humorous tone in it that is simply irresistible. Just like how the characters in the film get totally pumped over having those “shots” that lead character Dorina provides to them, we are really drawn and addicted to what happens. It gives us a peak into this world which not many of us are particularly adept about, and it does a great job in doing so. That of course, and lead actor Mimi Juareza’s haunting turn in it.

09. BUKAS NA LANG SAPAGKAT GABI NA (Jet Leyco)

One of the common themes I noticed among the Cinema One Originals entries this year is that the films are more experimental in nature. Jet Leyco’s Bukas Na Lang Sapagkat Gabi Na provides a mysterious atmosphere that makes you more interested as the film goes on. It is weird and eerie and that’s what make it work. The film, in its own nature, has a great grasp of what it wants to show in a really inspired manner (the handheld camera effect, black and white parts, gunshot sounds), and it makes the whole viewing more enjoyable. It’s one film I think I’ll enjoy more in repeat viewings.

08. PUROK 7 (Carlo Obispo)

A portrait of an optimistic girl living in small rural town was vividly depicted in Carlo Obispo’s debut feature Purok 7. As we follow the story of 14 year old Diana and her younger brother, we were given an escape, thanks to the eye catching scenery of the country side. But more than that, we witnessed and felt the agony of two kids who have long wanted to be a part of something and be a part of a family. The simplicity of it all is what makes this whole thing fresh, endearing, and leaves a lasting impression.

07. TRANSIT (Hannah Espia)

As the overall winner of last year’s Cinemalaya New Breed category, Hannah Espia’s debut effort Transit is an achievement on so many levels. Not only does its display of technical achievements noteworthy, but its storytelling was also seamlessly interwoven. It’s not everyday that we see this kind of potential on a first time full feature, but for this particular effort, Espia manages to hit the right buttons. And as a bonus, it even ended up as the country’s Oscar Foreign Language Film submission.

06. BLUE BUSTAMANTE (Miko Lovelo)

OFW movies have been done to death already during the past decade, but first time director Miko Livelo puts a new spin on it in his Cinema One Originals entry Blue Bustamante.The expected dramatic scenes were instead replaced with an earned sentimentality that just wins you over. As main protagonist George, Joem Bascon was such a delight to watch as he finds a replacement work in Japan that will not only bring in the money but an even closer bond to his son and family who are miles apart. It’s definitely one of the most fun times I had at the movies for 2013.

05. DEBOSYON (Alvin Yapan)

Hypnotizing right from the start, this tale of one’s faith and acceptance – may it be because of love or commitment or just one’s mere existence – is one that lingers even after the credits roll. The film, which also is aided by minimal dialogues but really magnificent visuals, takes its viewers to some breathless imagery. The movie rested solely on its two lead’s but they did more than what they were asked for. Plus, the last 20 minutes of this film is still one of the bests I’ve see for this year.

04. ISKALAWAGS (Keith Deligero)

Like OFW films, coming of age films have been done to death now, but Keith Deligero’s refreshing approach in the Cinema One entry Iskalwags puts a more inspired approach to it. It’s not hard to fall for the film as it certainly evokes an environment that is light and not totally sentimental. It sparks a certain touch of youth and playfulness that is rarely captured this well on screen. The voice over also adds a more interesting spin, and it features an ensemble whose innocence translates in a totally natural manner.

03. ON THE JOB (Erik Matti)

Probably one of the most buzzed films of the year, this picture depicts a setting of a dirty and very complex government; one which needed more than just a person who has an optimistic view to eradicate it and start anew. It is through this core notion where these characters live and breathe, as Erik Matti gives us a more than satisfying crime action thriller that is gripping and at at the same time, really, really timely. It’s one of the rare movie experiences that makes you even sadder as you come out of the theaters because of how easy one can reflect and connect it to what’s really going on.

02. SANA DATI (Jerrold Tarog)

The cinema has given us lots of love stories. Most of them with happy endings, while some were flat out tragedies. In Jerrold Tarog’s closing effort to his camera trilogy, he uses the notion of whether to stay stagnant or to let go as a path to understand how love really works. In the case of Lovi Poe’s Andrea, it’s a hard task, especially when you’re ready to move on yet a reminder of the past shows up hours before you’re ready to take the jump. Sana Dati is one of the best stories about love I’ve seen in a long time. And there’s no other way to end the film that with Up Dharma Down’s Indak.

01. BADIL (Chito Rono)

At one point, it doesn’t even seem that this would make it at the Sineng Pambansa festival last August. But thankfully, it did. Chito Rono’s entry which focuses in a small Samar town on the eve of election day is as arresting as one can get. Like On the Job, it’s a depiction of what’s wrong in a society, but this one is less technically polished but of the same, if not even more, intensity. It’s a film that has a lot of long continuous shots, probably making the whole experience more captivating. It also has a good ensemble with a very intense Jhong Hilario leading the ship. Badil was an entry in the All Master’s Edition of the Sineng Pambansa, and with his controlled and almost restrained direction, Rono definitely lives up to the challenge.

Yesterday, the Film Academy of the Philippines (FAP) has already released the shortlist on what the country’s likely submission for next year’s Best Foreign Language Film at the Oscars. As of press time, nine films are included in the list which will be decided by the eight-person committee. While these films are already assured as a part of the shortlist, September released films can still be late additions to it, as the AMPAS eligibility extends up to September 30 of this year.

Last year, I decided to put my two cents on what the country will submit as an entry which you can read here. I suggested Alvin Yapan’s Ang Sayaw ng Dalawang Kaliwang Paa from the field of seven that was announced earlier. The country ended up with Bwakaw, which wasn’t part of the initial list, but nevertheless, a competent and most inspired submission we had in years. This year, I’ll be doing the same based on the initial shortlist of nine films included and suggest what I think should be our country’s entry. One thing you have to remember though is that it’s not solely about the film’s quality, as politics and buzz also play a big part when it comes to choosing our Foreign Language Film submission. Anyway, here’s how I see each of the nine contenders:

Boses tells the story of Onyok, an abused son, who was brought to a children’s shelter to be protected from his abusive father. In there, he develops an unlikely mentor with Ariel, the brother of the shelter director, who saw his potential to play the violin. Through these lessons, both Onyok and Ariel managed to find an escape from their individual traumatic experiences.

Films with child/ren as the main character work well within the Academy, especially in the Foreign Language Film category. Think of France’s The Chorus or Brazil’s The Central Station. Add the music factor, and I can see this inspirational drama working well to the voters of this category. The production values, while not the top notch in this field are still commendable (I remember in 2005 when reception re: Ang Pagdadalaga ni Maximo Oliveros was that the production values, particularly the sound, was poor). The downside of this film though is that if chosen, if they’re willing to do a campaign because otherwise; it will just get lost in the shuffle.

While the story of the friendship among the three inmates (two Filipinos, one American) is fictional, one central part of the movie incorporates the dancing inmates based from that viral video of the real dancing inmates (jiving to Michael Jackson’s Thriller) from one of the provinces here in the Philippines.

I don’t see this making much of a fuzz, as its reviews here locally are mixed to negative. It’s a very divisive film that also did not make waves commercial wise. When most of reviews range from “thin plot” to “melodramatic”, it probably fits more for a Lifetime TV of the week spot than an entry at the Best Foreign Language Film. I suspect that the friendship angle between a Filipino and an American is what paved its way in the shortlist.

The movie follows a day in the life of Loida Malabanan, who works as a bit player in films and television show. For this particular instance, she works in a soap opera while still dreaming to have that one big break she has long been waiting for.

Definitely the most buzzed about entry at this year’s Cinemalaya Independent Film Festival, Ekstra is a critical and crowd favorite with its humorous take not only on the roles of bit players, but with its satirical portrayal of a television production as well. The good thing about it is that it’s one of the more recent entries this year and is already starting its run at different international film festivals such as the Toronto International Film Festival. It also stars one of the country’s most important stars, Vilma Santos, in the main role. However, with this being a major comedy, I wonder if the FAP is adamant to submit a comedy once again, especially one that pokes fun at the entertainment scene, too soon (after 2011’s Ang Babae sa Septic Tank). It can go either the way of 2003’s Crying Ladies which gained serious buzz or 2009’s Ded na si Lolo which gained none at all.

A historical epic about the life of one of the Philippines’ most prominent heroes, Emilio Aguinaldo. It does a full circle depiction from his early childhood days up to his last few days highlighting some of the most important days in Philippine history.

Every now and then, the Foreign Language Film recognizes entries which are of significant and cultural impact to its country. Thus, the committee can’t help but bite into the bait by inserting not only one, but two filmsinto the mix. The first one being El Presidente. While winning Best Picture in a lot of local award giving bodies earlier this year helps it chances, critical response wasn’t as kind as the others. However, I’d say that with ER Ejercito behind it, once chosen, they’ll probably try to pull off an aggressive campaign for it. I don’t think it’ll be enough though.

Inspired by true events, the movie shows the struggle of good vs. evil from different perspectives: jailed hitman Tatang and his protege Daniel, police officer Acosta, and NBI agent Francis. How all their paths crossed and the circumstances that bind them together is the main core of this action thriller.

After participating in the Directors’ Fortnight section of this year’s Cannes Film Festival, On the Job is already the best local reviewd film from this bunch. It also has the most buzz being the latest to be shown in this group. Local critics are rallying behind it and the word of mouth is really good. Commercial wise, it might end up as the second biggest hit in the shortlist, and I think that makes it the most viable contender. The film’s appeal is also universal, as proven by a confirmed Hollywood remake. Since it’s produced by the country’s biggest film production, a campaign is definitely feasible for it. Needless to say, it should be the most viable option from the bunch.

The movie gives a historical depiction of another Filipino hero, Andres Bonifacio, as he leads the Katipunan into a struggle for independence.

As for the other “hero” movie, while it’s the lesser buzzed movie between the two, it’s the one that got better reviews. With that said, it also suffered from lack of overall impact, as only a handful of people saw it during its run. Part of me thinks that with these two heroes in the mix, if they’ll cancel each other’s chances in order to avoid controversies about the chosen film in case one of them gets to be the top pick? I know that sounds ridiculous, but you’ll never know. Not that I think either of the film will actually end up as our submission, but one can’t help but think it can affect such.

Set in the beautiful village of Tawi-Tawi in the farthest island of Mindanao, the wife of a childless couple , Shaleha, suffered her third miscarriage. Out of frustration, it gave her an idea to find another wife for her husband Bangas-an. As she finally saw the perfect wife, conflict ensues when young lady Mersila gives her condition in exchange of this agreement.

Thy Womb was part of the official competition of last year’s Venice Film Festival. Aside from that, it also participated as part of Toronto International Film Festival as well. While this gives it a great advantage among other competitors, the fact that it already had its festival run last year gives it less buzz as compared to the newer ones. Sure, it i still under the same eligibility period, but it leaves a “been there done that” feel already. And while the raves for Nora Aunor’s performance is unanimously positive, there is a discrepancy with its reviews locally and internationally. It got great reviews here while it’s more mixed abroad, so that speaks volumes about its universal appeal. It’s also noteworthy to mention that Brillante Mendoza isn’t an FAP favorite with no previous entries submitted, despite getting worldwide accalim for some of his previous films.

Shot in the fictional town of Pulupandan, an overconfident Makoy hopes to win back the heart of his pregnant girlfriend. But when his arrogance irked some people of the said town who happened to be a group of aswang (Filipino term for “monster like ghost creatures”), Makoy and his girlfriend’s family fight for survival.

This one is probably the easiest to eliminate here. The movie showed a great stylistic approach (and an effective one at that), but other than that, there’s nothing that’s gonna make sense to put this as the country’s submission. There will be a huge barrier to even explain the concept of aswang to a foreign crowd, and this one suits for an enjoyable popcorn flick than an Oscar submission. Besides, Erik Matti has another submission here which has the better odds of getting chosen.

A bus accident left three strangers literally connected to a pole, and as they are waiting for their fate in the hospital, we get a glimpse of their individual lives prior to the said incident.

Tuhog‘s chances can actually go either way. On one hand, it’s the quirky film that can inspire a lot of passion among voters with its multiple storytelling. On the other, it might be seen as too light to stand out in a field of 70+ films worldwide. While the FAP hasn’t shied away from lighter films before (Ang Babae sa Septic Tank, Ded na si Lolo), but end results did not bode well for the country’s chances.

All in all, I’d say On the Job is far and away the best option to be submitted this year. It has the buzz, the great push, the reviews, and the festival experience to make a mark in this category. A runner up position goes to Ekstra since it can follow Bwakaw‘s footsteps last year starting with its TIFF inclusion already. I think Boses can be a good submission as well, as I think it will work well among AMPAS voters. Tuhog and Thy Womb will also be decent picks, though not necessarily the strongest we can offer. With that said, there will probably be two to three more additions to this given that the Sineng Pambansa will be held mid-September.